During Winter quarter of 2021, three CART fellows created their own remote interventions with archival collections in UCSC's holdings:
Joseph Finkel (Musicology) created this digital exhibition telling the story of John Cage's interest in mushrooms and its connections with his career as a composer and artist. Finkel also recounts the history of how the John Cage Mycology collection (MS 74) at UC Santa Cruz came to be part of Special Collections & Archives. He used archival materials and books from this collection, among other sources, to complete this multimedia project.
Anny L. Mogollón (Literature) utilized the papers of Karen Tei Yamashita (MS 465) to create an exhibit exploring "the question of how...how did the author write this? And perhaps too, how long did these stories haunt them before they were set down on paper." Yamashita is an author, playwright, and UCSC professor known for her works of Asian American literature and magic realism, including I Hotel (2010) and Tropic of Orange (1997), both of which Mogollón explores in this exhibit through early drafts, photographs, and research materials from Yamashita's papers.
Eric Sneathen (Literature) wrote this essay reflecting on his time using archival materials, and the distance felt during the COVID-19 pandemic. He used Out in the Redwoods, a collection of oral histories documenting the LGBTQ experience at UC Santa Cruz from 1965-2003, as a starting point in his reflections. Sneathen also wrote a poem during his fellowship, which will be printed and bound, and available in the Special Collections reading room in the coming months.
View the digital exhibit, Echoes of Seema.
During Fall quarter of 2020, CART fellow Brock Stuessi remotely processed the Sara Halprin Interviews, which consist of over 100 digital audio files transferred from CDs. Sara Halprin, PhD, was an author, scholar, and therapist who lived in Portland, Oregon. While studying writing at Portland State she was a student of Ursula K. LeGuin. In the 1980s and 1990s, Halprin conducted a series of interviews with Seema Weatherwax, forming the basis for her book, Seema’s Show: A Life on the Left, and which comprise the vast majority of this collection. Seema Weatherwax was a photographer and artist, born in Russia in 1905. She settled in the United States in 1922 and began working in a photo lab in Boston. Soon she moved to California and worked at Yosemite National Park, where she was an assistant to Ansel Adams, and became close friends with the Adams family as well as Edward Weston, Imogen Cunningham, and Woody Guthrie. She left Yosemite to marry Jack Weatherwax and moved to Los Angeles, where she worked with her husband and pursued her passion for racial justice. In 1984 she moved with her husband to Santa Cruz, where he died soon after. In Santa Cruz, Seema joined the local chapters of the NAACP and WILPF (Women's International League for Peace and Freedom). After her husband’s death, she decided to revisit her own photography work, and showed the first professional exhibit of her work at age 95 in Aptos.
Related materials to this collection are available in the collection guide for the Seema Weatherwax Photographs and Papers, and Seema’s Show: A Life on the Left is available to read online through the UCSC Library.
In Summer 2019, CART fellows Christian Alvarado and Patrick King processed the papers of Hayden White, a well-known historian, author of Metahistory: The Historical Imagination in Nineteenth-Century Europe, and Professor Emeritus in UCSC’s History of Consciousness department.
One fellow surveyed, arranged, organized, and described the materials in paper format that Dr. White created over the course of his career, ranging from the 1940s to his death in 2018. These materials include correspondence; teaching files; research notes; drafts of his writings; reviews; publication translations; White’s work as a student; lecture notes and other documentation from conferences, seminars, guest lectures, and other speaking engagements; and files White kept on authors and topics of interest to him. Also included are White’s documents pertaining to the White v. Davis case at UCLA in the 1970s, the California Supreme Court case that determined the police surveillance of political activity without reasonable suspicion of a crime was unconstitutional in California.
The second CART fellow surveyed, arranged, organized, and described White’s digital files, which range from the 1980s to 2018. The fellow appraised digital content for scholarly value, migrated original files to archival formats for long-term preservation and access, and wrote detailed descriptions that will assist future researchers in finding relevant materials. Digital material contains content similar to paper files, but also has manuscript drafts, research notes, photographs, and other digital materials that offer a more contemporary complement to the physical materials in the collection, and reveal a nuanced view of White's professional career.
For more information on Hayden White, please consult his oral history, Hayden White: Frontiers of Consciousness at UCSC, part of the UCSC Regional History Project.
CART fellow Emily Travis processed the papers of Kathryn (Kay) Metz, Professor Emerita of Art who established the printmaking department at UC Santa Cruz in 1971. Before coming to UC Santa Cruz, Metz earned her MFA at UCLA, studied in Paris at the print studio Atelier 17, and taught at NYU. During her time at Santa Cruz, Metz developed innovative courses in the Art department, hosted numerous guest lectures, and mentored students throughout their careers. Following her retirement from UCSC in 1992, she continued painting and staying locally involved in arts and environmental initiatives. In 1997, UCSC's literary magazine Quarry West devoted its 33rd issue entitled “In Celebration of the Muse” to Santa Cruz women involved in the arts, which included pieces created by 12 local printmakers in honor of Kay Metz.
The collection, which spans 35 linear feet, includes examples of Metz’s artwork including prints, portfolios, her files on specific projects, and exhibition files. Her teaching files include course materials for classes she developed in the UCSC Art department as well as administrative files which provide a glimpse into the Art department’s activities in the 1970s and 1980s. Also included in the collection are materials from Metz’s personal life, including diaries, notebooks, travel accounts, correspondence, her early school work, collected ephemera, and family photographs and albums.
CART fellow Vivian Underhill processed collections related to local Santa Cruz history in the 19th and 20th centuries from multiple generations of the Hihn family, including entrepreneur and Hihn family patriarch Frederick A. Hihn. F.A. Hihn settled in Santa Cruz in 1851 after immigrating from Germany during California’s Gold Rush and was integral in the founding of Capitola as well as the California Polytechnic State University, San Luis Obispo. The Hihn family archives, along with materials from F.A. Hihn’s colleague C.B. Younger and his family, make up UCSC’s Hihn-Younger Archive, which has served as the foundation for many of the local history materials in Special Collections & Archives.
The papers of F.A. Hihn include personal letter books and land ownership records from the turn of the 20th century, business ledgers, deeds, maps, and records of real estate and city water usage. This project also includes the papers of Teresa Hihn Moore, granddaughter of F.A. Hihn, which include family photographs, scrapbooks, book manuscripts, correspondence, ledgers, artifacts, and ephemera. The Hihn family collections also contain maps and records of several early Santa Cruz county businesses including the F.A. Hihn Company, the Capitola-Hihn Company, the Santa Cruz Railroad Company, the Santa Cruz Water Company, and the Valencia-Hihn Company.